Читать книгу Aaron Burr: A Biography - Nathan Schachner - Страница 56

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Hamilton had been correct in at least one of his many accusations against Burr. He was extravagant. He loved to live well, to entertain lavishly and with abounding hospitality; he sought out young, struggling talent, and helped it with unobtrusive generosity along the road to recognition and fortune.

Abraham Mortier, Commissary to the King, had leased in 1768 from Trinity Church for a period of 99 years a little hill that overlooked the Hudson in what was then the outskirts of New York City. Today it is approximately the area enclosed by Clinton Place, Varick and Van Dam Streets. On this plot of farm land he built himself a stately mansion with wide porticoes, noble rooms, and an unequaled vista of rolling country, lordly river, and pleasant meadows. The house and its little eminence became known as Richmond Hill, and its fame spread far and wide.

During the Revolutionary War General Washington had used it as his Headquarters, and Burr had then obtained his first glimpse of it. John Adams next occupied the house while Vice-President. His remarkable wife, Abigail, grew lyric over its charms. “The house in which we reside,” she exclaimed to her sister, “is situated upon a hill, the avenue to which is interspersed with forest trees.... In front of the house, the noble Hudson rolls his majestic waves, bearing upon his bosom innumerable small vessels.” And, beyond, “rises to our view the fertile country of the Jerseys, covered with a golden harvest, and pouring forth plenty like the cornucopia of Ceres. On the right hand, an extensive plain presents us with a view of fields covered with verdure, and pastures full of cattle. On the left, the city opens upon us, intercepted only by clumps of trees, and some rising ground, which serves to heighten the beauty of the scene, by appearing to conceal a part. In the back ground, is a large flower-garden, enclosed with a hedge and some very handsome trees. On one side of it, a grove of pines and oaks fit for contemplation.”^[215]

And to a friend she rhapsodized: “I have a situation here, which, for natural beauty may vie with the most delicious spot I ever saw.”^[216] When the Adamses were forced to move to Philadelphia in 1790, on the transfer of the Capital to that city, she mourned sadly, thinking of departed glories, that “Bush Hill is a very beautiful place. But the grand and sublime I left at Richmond Hill.”^[217]

This was Burr’s opportunity to gain possession of the coveted Paradise. He took over the lease in 1791, furnished the great mansion with splendid furnishings, landscaped the grounds, widened and dammed Minetta Brook into a pond, and proceeded to entertain visiting celebrities in princely style. No distinguished Frenchman, exile or traveler from his native land, but spent hospitable weeks as his guest. Tallyrand, Volney, Louis Philippe, Jerome Napoleon, and others remembered with pleasure Richmond Hill and its cultured host. His library was always stocked with the very latest imported volumes. He gave instructions to a London bookseller to forward him at once the very best of the newer publications. He received Gibbon’s monumental work, the writings of William Godwin, of Mary Wollstonecraft, of Jeremy Bentham, volumes on history, economics, and military tactics.

As a patron of literature and the arts he was famous in his day. John Davis was gratefully to record that Burr, “cultivating literature himself, loved to encourage it in others; and ... with a condescension little known to patrons, sought out my obscure lodgings in a populous city, and invited me to his house.”^[218]

The famous painter, John Vanderlyn, owed far more to Burr’s far-seeing and generous patronage. Vanderlyn, born in Kingston, New York, had come to Philadelphia to study art under the tutelage of the master, Gilbert Stuart. Lacking funds to continue, he returned to Kingston, where he made some striking copies of certain portraits that Stuart had lent him. One of these was a portrait of Burr. This was sold to Peter Van Gaasbeck, of Kingston, a member of Congress and a friend of Burr. Burr learned of the young painter and expressed a desire to assist him.

He wrote Van Gaasbeck: “I understand that a young Mr. Van De Lyne, who lived a short time with Stewart the Painter, left him for want of the means of suitable support.

“You must persuade him to allow me to remove that objection. If he was personally acquainted with me, he would, I am confident, accept this proposal without hesitation. I commit to you then to overcome any delicacy which he may feel on this head. I shall never imagine that I have conferred on him the slightest obligation, but shall be infinitely flattered by an opportunity of rescuing Genius from obscurity.

“He may draw on J. B. Prevost, New York for any sum which may be necessary for his outfit. And on his arrival in this City, where Mr. Stewart now lives, he will find a letter from me, addressed to him (Mr. Van De Lyne) pointing out the channel of his future supplies, the source of which will never be known except to himself ... This arrangement is intended to continue as long as it may be necessary for Mr. V. D. L. to cultivate his genius to highest point of Perfection.”^[219]

Burr made this generous gesture at a time when he was head over heels in debt, when he owed substantial sums of money to the very Peter Van Gaasbeck whose aid he was enlisting on behalf of Vanderlyn. In an accompanying letter to Van Gaasbeck he replies to an evident request for funds that “something might perhaps be devised to fulfil in part your wishes. I am still however equally distressed, as when I last wrote you, in my finances ... I have experienced ... disappointments to a very distressing degree, and it will be six months before I shall be relieved, unless some unknown good fortune intervenes.” But Burr’s was an essentially buoyant and optimistic nature. He continues: “It will however give you pleasure to learn (& therefore only I mention it) that if I weather the storm, of which there can be no doubt I shall be as rich as a reasonable man need wish. I mention my distresses by way of apology for myself, in not having answered your letters in a more effectual and satisfactory way. And I mention my prospects to console you for the disappointment & to keep up your hopes & spirits.”^[220]

Nevertheless he fulfilled his assumed obligations to the young painter with a princely munificence. He had Vanderlyn study under Stuart for a year. When the master acknowledged that “you are wasting your time with me; now you are ready for Europe ... I have taken you as far as I can,” Burr brought him to Richmond Hill for the spring and summer of 1796, and diligently proceeded to advertise him as a splendid portraitist. He gained him many commissions; among them the portraits of Albert Gallatin, M. Adet, the French minister, and others. Not to speak of Burr himself and little Theodosia.

In September he sent Vanderlyn to France to continue his studies, with a liberal supply of money and letters of introduction. In two years he was back, again under Burr’s tutelage. As long as Burr lived, the painter was to find in him a friend, a patron, an ardent admirer. Later, much later, when Vanderlyn had become famous, and achieved worldwide recognition, he was to remember gratefully the unselfish aid of Aaron Burr.^[221]